Artistic Programme 2026-27

19.5.2026

HEADING FOR SUMMER 2026

THE WOMAN OF ZAKYTHOS | DIALOGUE ON THE RUINS OF MESSOLONGHI | A co-production with the Municipal and Regional Theatre of Agrinio, in partnership with the Municipality of Messolonghi | Researcher - Dramaturg - Director: Manos Karatzogiannis | Ancient Theatre of Oeniades & selected venues | First performance: 5 July

I have nothing on my mind but liberty and language.

More than 200 years have passed since Dionysios Solomos wrote The Dialogue, in which three characters – the Poet, his Friend and the Scholar – discuss the language question against the backdrop of the siege of Messolonghi. This year is also the 200^th anniversary of the Exodus of Messolonghi, the only place in the world designated a “Sacred City” in a non-religious sense. Drawing inspiration from three works by Dionysios Solomos, The Dialogue, The Free Besieged and The Woman of Zakythos, Manos Karatzogiannis tells the story of the Exodus in a production about his birthplace, repaying a deeply felt debt that is collective as well as personal. On hills of salt, a chorus of distinguished actors from different generations gives voice to enduring questions that have shaped the country: sacrifice, language, and liberty. They are national ideals, but does that make them true – and if so, to what extent? True enough to be universal, perhaps? Or to form part of a lost Greek identity?

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ALCESTIS by Euripides | Adapted and directed by Dimitris Karantzas | Ancient Theatre of Epidaurus | 17 & 18 July | Part of the Athens Epidaurus Festival

A contemporary parable with strong political connotations. A dual-natured work that walks a constant tightrope between life and death, playfulness and nightmarishness, overwhelming tragedy and unexpected comedy. Admetus will be spared death only if he can find someone to give up their life on his behalf. His wife, Alcestis, offers to take his place. Her sacrifice unfolds in the public sphere, before the eyes of the citizens, as a preordained murder – an act that is today unavoidably read as femicide, legitimised by the structures of social and political power. Dimitris Karantzas directs Alcestis as an experiment in dramatic form, in which music, sound, movement, and a daring stylistic balancing act are organically intertwined, creating a world that is fluid, liminal, and constantly changing. With a superb cast and creative team, the production is a forceful theatrical statement that does not simply relate the myth, but raises timely questions about authority, gender, sacrifice, and the responsibility that society bears for the death of the titular – and fully-fledged – heroine.

Euripides’ profoundly human play, The Trojan Women, is brought to the stage by twenty-two performers of different ages, with and without disabilities – including actors from the En Dynamei Ensemble – accompanied by live on-stage music. This uniquely inclusive staging takes place at the Ancient Theatre of Epidaurus, which becomes universally accessible for the first time in its history. In Eleni Efthymiou’s Trojan Women, the bodies of the royal women of Troy mingle with the bodies of others – including girls, and elderly and disabled women, who even before the sack of the city were denied autonomy and rarely allowed to tell their own stories. Captured after the fall of their city, they experience the pain and despair of destruction, but remain indomitable in the face of loss. Neither the gods, nor myth, nor fate determine their lives. Mourning does not paralyse them; it is transformed into a fragile but tenacious form of rebellion, their mutual support becoming their most powerful means of resistance. This is a production about the horror of war seen through the prism of the female body, which asserts the right to agency even under occupation.

THE NATIONAL THEATRE OF GREECE’S NINTH INTERNATIONAL ANCIENT DRAMA WORKSHOP | 5-20 JULY

The National Theatre of Greece is holding its 9th International Ancient Drama Workshop in partnership with the Municipality of Epidavros. This year’s workshop, entitled “Seeing and Being Seen”, will be led by actress Alexia Kaltsiki in collaboration with Russian director and educator Stelios Katsatsidis, and soprano Maira Milolidaki. The workshop is aimed at young theatre professionals, including actors, directors, graduates of drama schools, and stage practitioners who want on the one hand to deepen their knowledge of ancient drama and investigate how it functions, and on the other to work on specific topics.

Project manager for the NTG: Dr. Irene Moundraki

For more information and to apply to take part by 16 June: n-t.gr

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R E T U R N I N G

Drawing on 300 interviews conducted in 2020 and 2021, a period of heightened collective loneliness, the popular French playwright Guillaume Poix’s Sacred (Un Sacre) weaves intimate human stories into a chronicle of loss that opens onto the broader history of humankind. Recognising theatre as a secular ritual, and enriched by live music, the production returns for a second season after its enthusiastic reception last year. The result is a collective recentring, a luminous record of human life. Because all you can do in the world we have made is keep on existing. Existence as revolution, then.

KONTAKTHOF by Pina Bausch | In collaboration with the Pina Bausch Foundation
Main Stage | Ziller Building | Opens 7 October | 2nd year

After its enormous success this season, the unique revival of one of Pina Bausch’s most iconic works, Kontakthof, featuring 22 exceptional Greek performers aged 21 to 55, returns to the Main Stage of the Ziller Building for just a few performances. “Kontakthof is a place where people meet who are searching for contact”, said the great choreographer. “To show yourself, to deny yourself. With fears. Desire. Disappointments. Desperation. First experiences. First attempts. Tenderness and what arises from it was an important theme in the work. [...] To show something of yourself, to overcome yourself.”

Anton Chekhov’s masterpiece The Cherry Orchard returns to the Main Stage of the Ziller Building for a limited number of performances, in a production adapted and directed by Ektoras Lygizos, with an outstanding ten-member cast. Bringing out the qualities of Chrysa Prokopaki’s superb translation through a peculiar kind of “musical realism” – where the score is the text and the musical instruments human voices – this hilarious yet heartbreaking tragicomedy explores the perpetual human struggle to exorcise the terror of the abyss and the infinite, the silence and the emptiness that threaten at every moment to annihilate us. Set entirely in the drawing room and conservatory of a Russian dacha, Chekhov’s swan song is performed as the ultimate ensemble piece, 41 years after it was last staged by the NTG.

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NEW PRODUCTIONS

ZILLER BUILDING

Following its long and successful incarnation as an opera, Giorgos Koumendakis’s production of The Murderess now comes to the NTG’s Main Stage in the form of a musical drama. Adopting the narrative arc of Alexandros Papadiamantis’s original work, and with a newly condensed version of Koumendakis’s music for chamber ensemble, it once again leaves its heroine poised between divine and human justice. While following the score, Karyofyllia Karabeti will perform all the characters in a strange, feverish, and exceptionally demanding monologue, tapping into the unusual musicality of Papadiamantis’s language and keeping its dramatic intensity intact. Markellos Chrysikopoulos has adapted Papadiamantis’s short story and Koumendakis’s music for the production, and also conducts the ensemble. The transcription of the score is by the musicologist, clarinettist, and Associate Professor at the Ionian University, Yannis Samprovalakis.

A co-production between the Greek National Opera and the National Theatre of Greece

The House of Bernarda Alba was written in 1936, but was banned by the Franco dictatorship and not performed in Spain until 1964. What was it that made the play so dangerous even for such a powerful regime? Nine women live locked up at home, without any kind of social, personal, or sexual life, under the tyranny of Bernarda Alba, who has transformed the house into a prison in all but name. A strong patriarchy thrives there, though no man appears on stage at any point. It is a place of control, subjugation, and obsession, where compliance is enforced from within, not by any external authority. Today, a vast, dense edifice for cultivating fear and producing despair is working ceaselessly to nurture within us the conviction that any thought of changing the world is futile and any gesture of solidarity doomed to failure. In this context, the poetic force of the play is such that it may still be dangerous. Federico García Lorca’s masterpiece returns to the Main Stage of the NTG after three decades, with Filareti Komninou in the role of Bernarda Alba and an outstanding, all-female ensemble of performers from different artistic generations.

The NTG welcomes the internationally acclaimed director, designer, painter, and educator Dmitry Krymov to Greece for the first time, with his radical version of Shakespeare’s The Tempest. One of the most important figures in contemporary theatre, and a recipient of multiple accolades – including five Golden Mask Awards, a Stanislavsky Award, the Grand Prix of the Prague Quadrennial, and a Herald Angel Award at the Edinburgh International Festival – Krymov has built a triumphant career at major theatres, festivals and museums worldwide. Here, he reimagines Shakespeare’s farewell to the theatre – with a Greek cast and music by Thodoris Economou — as a political and existential explosion centred on revenge, forgiveness, and moral responsibility. The result is a rare stage offering, shaped by the anarchic, poetic, and wholly unpredictable theatrical cosmos of the idiosyncratic creator, drawing on his personal experience of self-exile from Russia for the past four years in protest against the war in Ukraine.

NEW STAGE “NIKOS KOURKOULOS”

… I heard as if from down below in the valley the howling of many wolves.

The Count's eyes gleamed, and he said: –

"Listen to them – the children of the night. What music they make!"

In 1903, “the strangest novel ever published in a Greek newspaper” – entitled The Castle of Dracula in Alexandros Papadiamantis’s translation – was serialised in Neon Asty. The story of the Count – the classic embodiment of humanity’s fear of the unholy – was therefore brought to Greek readers through the poetically raw and rawly poetic language of Papadiamantis. Working with an outstanding group of performers, Konstantinos Ntellas draws on his artistic and research-based exploration of language, popular forms of expression, and stage action as ritual, to create a theatrical world shaped by space and time, employing music and rhythm, multiple voices, and fluidity between bodies, roles, and functions.

MISS DIRECTOR by Kostas Pretenteris and Asimakis Gialamas | Directed by Aikaterini Papageorgiou | Ziller Building | Nikos Kourkoulos New Stage | Opens 17 March

A work that enjoyed remarkable success both in the theatre and on film returns in a contemporary adaptation that sheds light on issues of identity, power, and social roles, highlighting how unsettlingly relevant it remains today. At its centre is a heroine who moves constantly between the mask she wears and her true self, revealing the fluidity of social conventions at a time when public image and private life are in constant negotiation. A love story emerges from this tension, exposing the cracks that appear when the personal is mediated by the social. Sacrificing none of the pace and humour of the original, the production poses a timely question: what is a woman’s position in the workplace when the rules of the game have been written by others? Far from being relegated to the past, this classic comedy stares us squarely in the face in the here and now.

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REX THEATRE

Eleni Papadaki Stage | CHILDREN’S STAGE

Rob is a young ranger. It’s a job he does because he loves the forest. His boss, the Commissioner, who holds sway over the region, doesn’t love forests, though. He loves profit. And his plan to “modernise” the area involves destroying all the woodland to make way for roads, factories, hotels, mines, and zoos. When Rob attempts to thwart the Commissioner’s grandiose ambitions, he is declared an outlaw. He’s not alone, though. Amidst the trees, a community is founded by people who have followed their hearts there, and Rob becomes Robin. This is a play about the beauty of the forest, with music, songs, and cinematic battle scenes. It is a tale of deep ecological awareness, mutual support, and self-sacrifice, transporting young and old alike to a vibrant place full of scents, sounds, and colours.

Marika Kotopouli Stage

Much Ado About Nothing is a sophisticated tale of romantic misunderstandings, in which gender roles are deconstructed with elegance and scathing irony. At the heart of the play, the explosive relationship of Beatrice and Benedick, a scintillatingly quick-witted and quarrelsome pair, redefines the terms of desire in a world where it is always subject to negotiation. Disguise, eavesdropping, and mistaken identity serve both as playful devices that lead to love and self-knowledge, but also as malevolent deceptions that sow the seeds of disaster. Meanwhile, the famous wordplay between “nothing” and “noting” reinforces the idea that reality is not something we experience, but something we construct. And when the eternal question, “to marry or not to marry?”, is asked, the stage comes alive! On his return to the NTG, Konstantinos Rigos invites us to a sparkling party full of Latin rhythms, tension, and seduction, where love becomes a game of strategy, words weapons, and every look either a promise or a trap. Starring Smaragda Karydi and Thanos Lekkas.

The Parliament of Anger (le Parlement des Colères) is a new international theatrical and social initiative focusing on young people and democracy, conceived and created by Rachel Dufour. In the spring of 2027, it will come to Greece, where members of Dufour’s theatre company, Les Guêpes Rouges, will share their methodology with three local theatre-makers. They in turn will work with a group of young people aged 16 to 23 on a production that will have a limited run in Athens before travelling to Paris and Brussels for its main European performances at the initiative’s two partner theatres, the Odéon Théâtre de l’Europe and the Théâtre National Wallonie-Bruxelles.

BANAL. A DAY THAT NEVER HAPPENED | Concept and choreography by Chara Kotsali | Rex Theatre | Marika Kotopouli Stage | Opens 8 May

An algorithm decides that 11 April 1954 was the most boring day of the twentieth century. Nothing important happened then; no celebrated figure was born or died; no war began or ended. With a mixed company of actors and dancers, Banal. A Day That Never Happened, is a production about insignificance; about how we live, breathe, and narrate our own stories on all those days when nothing happens amid the suffocating conditions of modern capitalism. The participants in this delirium of sound and movement are both human and non-human: a 70-square-metre flat with a rent of 800 euros a month, choirs of Athenian crickets, the municipal marching band, authorisations and legal documents set to music, rehearsals and stillborn dances, the desperate attempt to assemble a piece of fast furniture, live-streamed annihilations, and brief encounters. The everyday is invaded by the spectacular, and the unimportant is transformed into an area of conflict about meaning, our precarious position in the world, and the existential comic drama of a single day.

With Chara Kotsali’s production, the National Theatre of Greece is participating in the collaborative Euro-Mediterranean arts platform “Rivages Communs” (Common Shores), a network of four French partner theatres: Théâtre de la Bastille in Paris, la Scène Nationale de l’Essonne in Ris-Orangis, le Théâtre des 13 Vents in Montpellier, and the Théâtre Joliette in Marseilles. The network aims to provide mutual support for production and distribution of contemporary works throughout the Mediterranean basin, through co-productions, exchanges, and artistic residencies.

EXPERIMENTAL STAGE | Katina Paxinou Stage

The Experimental Stage, run by Akilas Karazisis and Nefeli Maistrali, is building on its work this season – the Ongoing Open Rehearsal & Sketch Performances – by continuing its exploration of artistic collaboration and reaffirming its commitment to process over outcome.

PROJECT MACBETH/PROSPERO | Opens 5 November

A collective of artists – a painter/playwright, a sound/screen designer, a performer who is also a teacher of history and philosophy, a skipper, five actors, and a coordinator/singer – explore the tension between power and utopia. Macbeth and The Tempest, two emblematic Shakespearian works, form the point of departure for the production. This is where we encounter the necessary anachronism of theatre: the historical canvas of the plays is the Renaissance, an era when the thirst for dominion and the longing for a magical life meet in their most naked form. This living, brightly coloured painting, taken out of the museum, is now placed in the centre of the Agora, the public space that is theatre. Testing the limits of image, language, stillness, the mechanics of representation, and everything that constitutes the present, immersed in a permanently living past, the new Experimental Stage production will be an adventure that attempts to escape the suffocating confines of theatre. Nonetheless, once again: Don’t be afraid. It’s theatre.

THE FIRST HUMAN STORIES (working title) | Opens 27 January

The new year will see a group of writers come together to create a collaborative play with humanity’s earliest stories as its central theme, drawing inspiration from some of the world’s oldest surviving texts, including The Epic of Gilgamesh, The Mahabharata, The Egyptian Book of the Dead, Hesiod's Theogony, and the Homeric epics. The writers will be selected following an open call, while auditions will be held for the cast. In addition, the Ongoing Open Rehearsal that was inaugurated last year will continue throughout this season as a regular forum for exploring new material and fostering artistic exchange.

GUEST PRODUCTION (to be announced) | April

The top graduate of the NTG Drama School Directing Department, Kostis Glykantzis, will direct a modern European play in the spring of 2027. More information will be announced in September.

OMONIA | Directed by Anestis Azas and Prodromos Tsinikoris | Opens 21 October

Omonia Square today resembles a city within a city. It is a place shared by tourists, immigrants, night workers, small traders, influencers, and people searching – for a room, company, work, or just somewhere to stand. Taking real testimonies, interviews, and incidents from the area as its starting point, the production shifts between documentary, black comedy, and urban thriller, creating a fictional portrait of the modern centre of Athens. Stories of loneliness, desire, humour, violence, and daily survival intersect in hotels, underpasses and nightclubs, at squares and bus stops. The characters wander around an Athens that is simultaneously dark and overlit. This is a production about the need for contact in a city that looks no one in the eye.

Dipylon Theatre

OEDIPUS REX, OEDIPUS THE KING | Translated by Nikos A. Panagiotopoulos | Directed by Haris Fragoulis | Dipylon Theatre | Opens 10 February

Haris Fragoulis and some of his close collaborators from the Kursk Theatre Group take on the myth of Oedipus in a staged reading that approaches this classic work as a profoundly existential and darkly poetic journey of self-knowledge. The story is brought to life not as a tale of fate, but as an agonising exploration of human consciousness. In a city wracked by plague, an old man lights a candle and kneels, attempting to pray the sickness away. But he no longer remembers how. When does a city fall ill? And what illness does it succumb to? At what point does something become corrupted? The city’s king, the gifted young man who brilliantly solved the riddle of the Sphinx and fancies himself an expert at deciphering enigmas, thinks he can also unravel the mystery of the Night – his night. But he can’t. He has to experience it himself before he can crack the greatest conundrum of all: who he is. And we, watching him, learn what our own night consists of, and whether some small glimmer of light might still remain.

AUDITIONS

Open auditions for NTG productions in the 2026-27 season will be announced from 20 May onwards. For further information, visit n-t.gr.

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CONTEXTUAL EVENTS

FOYER D | Interdisciplinary Interartistic Dialogues centred on the theme of the month | Designed and curated by Natasha Triantafylli

The successful initiative Foyer D: Interdisciplinary Interartistic Dialogues, designed and curated by Natasha Triantafylli, returns to the Ziller Building for a second year. Prominent figures from the world of science engage in a creative dialogue with leading artists. What does it mean to deliver a lecture using the language of art? How much art lies hidden within the language of science?

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SALONS OF LANGUAGE | An introduction to contemporary writing for the theatre

The NTG’s introduction to contemporary Greek writing for the theatre, Salons of Language, continues for a second year. The initiative offers original staged presentations of works-in-progress by Greek playwrights, followed by open discussions with creators from different artistic fields. It is a space for creative encounters that may pave the way for future versions of the plays. In June, the NTG will announce an open call for the submission of works in progress.

INTERNATIONAL NEW THEATRE MEDIA FESTIVAL

The International Festival of New Theatre Media, announced last year and originally scheduled to have taken place in May 2026, has been postponed until the end of the year due to ongoing political and military conflicts.

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THE YOUNG PEOPLE’S STAGE

The Young People’s Stage is undergoing a process of renewal, building on its ongoing dialogue with contemporary social and theatrical concerns, while redefining its educational role. The new head of the revitalised institution is Evi Nakou, who has extensive experience in social and educational initiatives and holds a doctorate in arts education. She is also a musician.

The Young People’s Stage is an open and inclusive space of experimentation and artistic learning for all ages, where theatre is linked organically with research, education, and society. Through play and improvisation, it re-examines the National Theatre of Greece’s work from a different perspective. Theatre is transformed into a place where meaning is created collectively, where seeing and listening become shared experiences; a place of co-existence and emotional engagement, linked by an invisible thread running all the way from rehearsal to performance.

Initiatives and programmes are in conversation with crucial issues of our time that are relevant to every community – issues concerning identity, the body, language, relationships, desire, care, and co-existence – through intergenerational and intercultural encounters. Theatre meets literature, music, movement, storytelling, painting, play, and oral history, placing the intersection of art forms at the heart of the educational process.

The planning of the 2026-2027 season begins with active listening: to children, teenagers, adults, families, teachers, and artists, remaining open to their interests and concerns, and the challenges they face. A network of initiatives, programmes and workshops is being developed in dialogue with productions across the NTG, with the Young People’s Stage visiting – and being visited by – schools and nurseries in Athens, while also performing in libraries, hospitals, detention centres, and public spaces. Books, gardens, forests, cities, languages, memory, sound, the body, the home, and the stage all become sites for imagination and expression. Similarly, our work is informed by a diversity of cultural experiences, shaping the ways we co-operate, co-create, and co-exist, in the corridors and dressing rooms, on our stages, and inside and outside the NTG.

The Young People’s Stage is a welcoming space for experimentation, conversation, and imagination. We look forward to meeting people from all walks of life, so that our kaleidoscopic programme can bring together words, gestures, sounds, and images into a rich and varied learning environment.

In May 2026, the Young People’s Stage spearheaded the formation of a collaborative network for interdisciplinary creative learning with representatives from more than twenty cultural organisations in the city. This will be a forum where different arts, perspectives, methodologies, and pedagogical tools feed into and intersect with one another; where best practices can be shared and developed, helping to strengthen approaches to arts education both in formal and informal settings.

RADIO | National Theatre Web Radio
Online at webradio.n-t.gr

For the first time ever, the NTG is operating a web radio service that extends the theatrical experience beyond the stage. National Theatre Web Radio is an exciting new platform: a participatory space with multiple voices that brings the public even closer to the heart of the creative process. Through four distinct programme strands, it provides news about current NTG productions, plus exclusive interviews with the artists behind them, updates on our various initiatives, insights into our people and our history, and conversations with theatre-makers about their lives and work. Alongside a wealth of constantly renewed original content, it also offers access to rare archive material, selected music, and glimpses behind the scenes.

PARTNERSHIPS - COLLABORATIONS - SYNERGIES

SYSTEMA – For the Greek Performing Arts | Athens Epidaurus Festival – National Theatre of Greece – Kalamata International Dance Festival

Three of Greece’s leading cultural institutions – the Athens Epidaurus Festival, the National Theatre of Greece, and the Kalamata International Dance Festival – have joined forces to launch SYSTEMA – For the Greek Performing Arts. This new expanded platform is designed to foster a more outward-looking Greek performing arts sector. Built – with the exclusive sponsorship of National Bank Mastercard – on the strong foundations established by “grape”, the Greek Agora of Performance (2023–2025), and the NTG’s Showcase (2023–2025), its scope is further broadened through a strategic partnership with the Kalamata International Dance Festival. Further details will be announced at 7pm on Monday 8 June at the Irene Papas School of Athens.

LIVE STREAMING

NTG productions will be live streamed to remote regions and islands. Further details will be announced in the autumn.

This initiative is sponsored by

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ACCESSIBLE PERFORMANCES FOR PEOPLE WITH SENSORY DISABILITIES

In keeping with its public mission, the National Theatre of Greece champions equality and the right of all individuals to enjoy unhindered access to performances and to participate with equal opportunities in the theatrical life of the country. In partnership with Alpha Bank, through its Culture for All initiative, the NTG will present accessible performances for people with sensory disabilities for a fourth consecutive year.

This initiative is sponsored by

CYPRIOT THEATRE WEEK | Dipylon Theatre | 14-20 September

From 14 to 20 September, the NTG hosts the fourth Cypriot Theatre Week, organised in partnership with the Department of Contemporary Culture of Cyprus’s Deputy Ministry of Culture and the Cyprus Centre of the International Theatre Institute, with the support of the House of Cyprus Cultural Centre in Athens.
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ARTS EDUCATION WORKSHOPS FOR SECONDARY SCHOOLS IN PARTS OF ATTICA WITH LIMITED ACCESS TO CULTURAL ACTIVITIES

This initiative will deliver an arts education programme in 24 middle schools in parts of Attica with limited access to cultural activities, helping to strengthen arts education and encourage creative expression among young people. The workshops will benefit pupils and teachers, while also supporting the local educational community more broadly.

This initiative is sponsored by

WORKSHOPS FOR OLDER ADULTS IN SOUTH ATTICA

For a second year running, as part of the NTG’s established support programmes for older adults, its facilitators will be making twice-weekly visits to open care centres in municipalities across South Attica.

This initiative is sponsored by

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HEALTH BENEFITS FOR NTG EMPLOYEES

The National Theatre of Greece is partnering with the Affidea health group to significantly enhance the care and support available to its employees, offering access to preventive and diagnostic services, as well as providing information on health and prevention, and organising awareness-raising activities.

Sponsor

Drama School Outreach

Pending the opening of the new School of Performing Arts, the NTG Drama School continues its educational work uninterrupted, expanding its outreach initiatives and enriching the learning experience through dialogue and exchange with the international theatre community. On 10 June, it is taking part in an event in Brussels entitled From School to Stage. Supporting the next generation of performing arts professionals in Europe. The initiative will bring together European policymakers, cultural organisations, theatre professionals, and other stakeholders to discuss how education, employment and mobility can provide meaningful support to young people pursuing careers in the performing arts. The event is organised by the Teatro Stabile of Venice in partnership with the European Theatre Convention, Théâtre National de Bretagne, the Teatro Stabile of Turin, and the National Theatre of Greece.

Latest updated: 12/06/2026

Artistic Programme 2026-27

19.5.2026

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